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	Current EURO200
	New entries in the EURO200                                       Review for week 27 - 2025
	SSIO – “Alles Oder Nix” (#41, New Entry) SSIO’s return to the spotlight with “Alles Oder Nix” is more than just a comeback — it’s a cultural event. After a four-year hiatus, the Bonn-based rapper reclaims his place in the German hip-hop pantheon with a track that’s as self-aware as it is self-assured. The title, a nod to his former label Alles oder Nix Records (founded by the late Xatar), sets the tone for a song that’s both tribute and takedown. Musically, the track leans into SSIO’s signature style: a gritty, minimalist beat with G-funk undertones, laced with punchy 808s and a hypnotic synth loop. But it’s the lyrical content that elevates this release. SSIO blends absurdist humor with razor-sharp industry critique, mocking the commodification of immigrant narratives in German rap. In one of the song’s most biting satirical moments, he’s offered a record deal — but only if he agrees to become a sanitized version of himself, telling sob stories for 5% of the advance. It’s a jab at the industry’s fetishization of trauma, and SSIO delivers it with a smirk. The accompanying video, directed by Chehad Abdallah, is a cinematic tour de force. With references to The Wolf of Wall Street and Eminem’s early 2000s visuals, it’s packed with skits, cameos (including a posthumous appearance by Xatar), and surreal humor. SSIO plays multiple characters, each more ridiculous than the last, yet the satire never feels forced. It’s a masterclass in how to be over-the-top without losing authenticity. “Alles Oder Nix” isn’t just a song — it’s a manifesto. It reaffirms SSIO’s refusal to conform, his loyalty to his roots, and his belief that rap should entertain and provoke. If this is the tone-setter for his upcoming album, German hip-hop is in for a wild, uncompromising ride.
	Jazeek & Shindy – “Parfum” (#65, New Entry) “Parfum” marks the first collaboration between two distinct forces in German rap: Jazeek, the melodic newcomer with a knack for emotional hooks, and Shindy, the seasoned wordsmith known for his luxurious aesthetic and razor-sharp delivery. The result is a track that feels both nostalgic and contemporary — a throwback to early 2000s R&B with a modern Deutschrap twist. The production, courtesy of CAZ_MUZIC and Patron, is smooth and understated. A soft piano loop, subtle string flourishes, and a laid-back drum pattern create a moody, late-night vibe. It’s the kind of beat that lets the lyrics breathe — and both artists take full advantage. Jazeek opens the track with a wounded vulnerability. His voice, tinged with pain, recounts betrayal and emotional disillusionment: “Sag mir, wo du warst / Hör auf mit den Lügen / Kann dich nicht umarm’n / Sonst riech’ ich sein Parfüm.” The metaphor of scent becomes a powerful symbol of memory and infidelity — a sensory trigger that turns affection into anguish. His delivery is melodic but raw, capturing the ache of someone who gave everything and got deception in return. Shindy’s verse, in contrast, is colder and more composed. He doesn’t plead — he declares. With lines like “Ich bin ein Mann mit Stolz, ich bin ein Mann mit Klasse”, he reclaims his dignity while dissecting the fallout of a broken relationship. His flow is crisp, his tone detached, but the bitterness simmers just beneath the surface. It’s classic Shindy: elegant, biting, and emotionally guarded. What makes “Parfum” stand out is the chemistry between the two. Despite their different styles and generations, they meet on equal footing. The track doesn’t feel like a feature — it feels like a conversation. A duet of heartbreak, pride, and the lingering scent of what once was. This is more than a breakup song. It’s a statement of artistic synergy — and a reminder that vulnerability and style aren’t mutually exclusive.
	Maître Gims feat. Jul – “Air Force Blanche” (#68, New Entry) When two titans of French rap join forces, expectations run high — and “Air Force Blanche” doesn’t disappoint. This collaboration between Maître Gims and Jul is a swaggering, sun-soaked banger that blends ego trip with aspirational flair, tailor-made for the summer of 2025. The track opens with Gims’ unmistakable baritone, delivering a chant-like refrain that’s instantly catchy: “Air Force blanche qui scintille / On y va ma p’tite chérie”. It’s a celebration of style, success, and self-made glory — with the titular white sneakers serving as a symbol of both street credibility and upward mobility. The beat, produced by Maximum Beats, is buoyant and infectious, fusing trap percussion with Mediterranean synth textures. It’s light on complexity but heavy on vibe — perfect for blasting from car windows or festival stages. Lyrically, the song is a flex-fest, but not without nuance. Gims references his rise from the rœu-c (slang for the projects) to royalty, calling himself “un blédard devenu Roi” — a powerful reclamation of identity and ambition. Jul, ever the prolific hitmaker, brings his signature flow and streetwise charm, rapping about loyalty, betrayal, and the price of fame. His verse is peppered with vivid imagery: “J'remonte la rivière à contre-courant comme le saumon” — a metaphor for resilience that cuts through the bravado. What makes “Air Force Blanche” work is the chemistry between the two artists. Gims brings grandeur and theatricality; Jul adds grit and momentum. Their voices contrast beautifully, yet they’re united by a shared ethos: hustle, heritage, and high fashion. The track is already climbing streaming charts and lighting up TikTok, and it’s easy to see why. It’s not just a song — it’s a statement. A declaration that French rap can be both global and grounded, luxurious and raw.
	Sam Fender & Olivia Dean – “Rein Me In” (#89, New Entry) “Rein Me In” is not just a duet — it’s a dialogue between two emotional states: regret and resilience. Originally a solo track on Sam Fender’s People Watching album, this new version featuring Olivia Dean transforms the song into a haunting, cinematic exchange between two people circling the wreckage of a failed relationship. The production, co-handled by Markus Dravs and James Ellis Ford, is sparse and atmospheric. Fender’s signature guitar work is restrained, almost skeletal, allowing the vocals to carry the emotional weight. The arrangement builds slowly, layering subtle percussion and ambient textures that never overwhelm the intimacy of the performance. Fender’s verses are raw and self-lacerating. He sings of emotional paralysis and self-sabotage with lines like “All my memories of you ring like tinnitus” and “I’m stood here chewing everyone’s lugs off, telling everybody how much I fucked it up.” His delivery is weary, almost numb — the sound of someone who’s been living with guilt for too long. Then Olivia Dean enters, and the song shifts. Her verse doesn’t just echo Fender’s pain — it reframes it. She sings from the perspective of the one left behind, offering tenderness without absolution: “There’s nothing brave in walking alone / Love in exile has nowhere to go.” Her voice is warm but resolute, adding a layer of emotional complexity that the original version only hinted at. What makes this duet so powerful is its refusal to resolve. There’s no reconciliation, no cathartic climax — just two people trying to make sense of what went wrong. It’s a song about emotional misalignment, about how love can falter not from lack of feeling, but from fear, pride, and timing. “Rein Me In” is a standout not because it’s flashy, but because it’s honest. It’s a masterclass in restraint — musically, lyrically, and emotionally. And in a chart often dominated by bombast, that quiet ache hits like a thunderclap.
	Blanco – “Maledetta Rabbia” (#120, New Entry) With “Maledetta Rabbia,” Blanco doesn’t just sing — he detonates. This is not a love song in the traditional sense; it’s a raw, unfiltered purge of emotion, where heartbreak and fury blur into one volatile cocktail. Following the introspective ballad “Piangere a 90,” this track feels like its chaotic sequel — louder, messier, and even more emotionally exposed. Produced by longtime collaborator Michelangelo, the song trades piano melancholy for a pulsating, synth-heavy uptempo that channels the energy of 1980s new wave with a modern, Italian pop edge. The beat is restless, almost manic, mirroring the emotional turbulence at the heart of the lyrics. Blanco’s voice — raspy, cracked, and on the verge of breaking — becomes the perfect vessel for a narrative that’s equal parts confession and confrontation. Lyrically, “Maledetta Rabbia” is a diary scrawled in the dark, full of contradictions and emotional whiplash. Blanco sings of a toxic relationship he can’t escape, of saying goodbye only to beg for return, of seeking freedom but finding only emptiness. Lines like “Anche se ti ho detto ‘Basta’, quante volte sei tornata” capture the cyclical nature of emotional dependency — a love that hurts, but feels impossible to quit. The accompanying video, directed by the Broga’s collective, is a surreal fever dream. Blanco stumbles through a psychedelic landscape of grotesque characters, flaming barbecues, and baroque gunwomen — a visual metaphor for the chaos inside his head. It’s theatrical, absurd, and deeply affecting — like Fear and Loathing in Las Vegas meets Il cielo sopra Berlino, but with mascara and heartbreak. What makes “Maledetta Rabbia” so compelling is its refusal to sanitize pain. Blanco doesn’t seek redemption or resolution — he just wants to be understood in his chaos. And in doing so, he gives voice to a generation grappling with love that’s as destructive as it is consuming.
	Giorgia – “L’Unica” (#147, New Entry) With “L’Unica,” Giorgia delivers a shimmering slice of electro-pop that’s as emotionally layered as it is melodically infectious. Released on June 20, 2025, the track marks a stylistic pivot from her more introspective ballads, embracing a lighter, more ironic tone — without sacrificing depth. It’s a song that dances through heartbreak with mascara intact and windows down. The production, helmed by Cripo and Katoo, is sleek and Scandinavian in flavor — think Robyn meets Elisa — with glistening synths, a pulsing beat, and a chorus that begs to be shouted from a moving car. But beneath the glossy surface lies a narrative of emotional exhaustion and self-reclamation. Giorgia sings of sleepless nights, phantom voices, and the ache of loving “like a madwoman” — but she does so with a wink, not a whimper. Lyrically, the song walks a tightrope between drama and detachment. Lines like “Guiderò piangendo sola dentro la Toyota / Sì, ma con lo stereo a palla” (“I’ll drive crying alone in the Toyota / But with the stereo blasting”) capture the essence of the track: heartbreak as performance, sadness as empowerment. It’s a breakup song that refuses to wallow — instead, it struts. Critics have noted the clever contrast between the upbeat arrangement and the emotional content. Some praise its emotional authenticity wrapped in pop sheen, while others question whether the references (like the Beatles’ “Lucy in the Sky with Diamonds” or the Toyota brand) feel a bit too on-the-nose. But Giorgia’s vocal delivery — warm, expressive, and unmistakably hers — grounds the song in sincerity. “L’Unica” isn’t just a summer single; it’s a manifesto of emotional survival. It says: yes, I’m heartbroken — but I’m still fabulous, still singing, and still in control of the aux cord.
	Trinix & Mari Froes – “Vaitimbora” (#148, New Entry) With “Vaitimbora,” French electronic duo Trinix and Brazilian vocalist Mari Froes conjure a lush, genre-defying track that radiates warmth, wanderlust, and wonder. Clocking in at just under three minutes, the song may be brief in duration, but emotionally, it’s expansive — a borderless musical embrace that blends lo-fi beats, Latin textures, and wistful storytelling. The title, drawn from a Portuguese slang contraction of "Vai te embora" (“Go away”), sets the tone for a track about departure, longing, and inner peace. Mari Froes’ vocals — airy and melancholic — are delivered entirely in Portuguese. Even for those unfamiliar with the language, her voice communicates a deep emotional clarity: a soft ache and resilience that sit comfortably in the same breath. Her phrasing has a lullaby-like cadence, wrapping the listener in calm even as the lyrics speak of goodbye. Trinix’s production is as restrained as it is textured. The duo layers ambient pads, soft percussion, and nylon-string guitar plucks over a subtly syncopated beat that evokes balmy dusk hours and sun-faded memories. Unlike their more bombastic offerings like “Emorio” or “Sweet Dreams,” this track leans into minimalism — and the result is quietly mesmerizing. The charm of “Vaitimbora” lies in its emotional ambivalence. It’s both a parting and a balm. The lyrics may be about letting go, but the arrangement says: it’s okay. Sometimes goodbyes lead to growth. Critics in Brazil and France alike have noted the cross-cultural elegance of the track — how it manages to be specific in language, yet universal in feeling. It’s already going viral on lo-fi and chillout playlists — not with a bang, but a ripple. And that’s precisely its power.
	DJ Snake & Bipolar Sunshine – “Paradise” (#167, New Entry) “Paradise” arrives with the weight of expectation. After a relatively quiet stretch, DJ Snake returns with a track that feels like both a throwback and a recalibration — a collaboration with UK vocalist Bipolar Sunshine that leans into nostalgia, but doesn’t quite escape it. The production is unmistakably Snake: a mid-tempo, synth-laced groove with tropical undertones and a glossy finish. But unlike his earlier festival anthems (“Taki Taki,” “Lean On”), this track is more subdued — less about the drop, more about the drift. The beat floats rather than pounds, with shimmering pads and a laid-back rhythm that evokes sunsets, not strobe lights. Bipolar Sunshine’s vocals are the emotional anchor. His delivery is airy and melancholic, tinged with longing. Lyrically, the song explores the illusion of escape — the idea that paradise is a place, when in fact it’s a feeling that’s always just out of reach. Lines like “We were chasing gold in a world made of sand” (paraphrased) hint at disillusionment beneath the surface gloss. Critics and fans have been divided. Some praise the track’s mood-driven subtlety, calling it a mature evolution of DJ Snake’s sound. Others find it underwhelming, expecting a more explosive return from an artist known for high-energy bangers. The user score on Album of the Year currently hovers around 40/100, with comments ranging from “mid” to “missed opportunity”. Still, there’s something quietly compelling about “Paradise.” It doesn’t try to dominate the summer — it lingers at its edges. It’s a song for twilight drives and solitary walks, not dancefloors. And in that restraint, it finds a kind of beauty.
	Neiked x Portugal. The Man – “Glide” (#172, New Entry) “Glide” is exactly what its title promises: a smooth, buoyant ride through shimmering synths, funky rhythms, and sun-drenched nostalgia. The collaboration between Swedish production duo Neiked and American indie rock veterans Portugal. The Man is a genre-blending gem that captures the carefree spirit of summer 2025 — but with a bittersweet twist. From the first beat, the track exudes warmth. Neiked’s production is crisp and tactile, layering dreamy guitars, groovy basslines, and a mid-tempo beat that feels tailor-made for golden-hour drives or rooftop parties. It’s a sonic palette that recalls the early 2000s indie-electro scene — think Phoenix meets Empire of the Sun — but with a modern, Scandinavian sheen. Lyrically, “Glide” is deceptively simple. The chorus — “Stick ’em up and glide” — is both a command and a mantra. It speaks to surrendering control, letting go of expectations, and moving with the rhythm of life. As Neiked themselves put it: “Sometimes you learn. Sometimes you don’t. Sometimes you just gotta surrender to the feeling.” That ethos permeates the entire track, making it feel like a gentle rebellion against overthinking. John Gourley, frontman of Portugal. The Man, brings a wistful vocal performance that adds emotional depth to the breeziness. He’s not just coasting — he’s remembering. In interviews, he’s said the song reminded him of the band’s early tours in Germany, dancing in indie clubs and chasing fleeting moments of joy. That sense of melancholic euphoria is what elevates “Glide” from a playlist filler to something more resonant. Critics have been mixed: some praise its infectious groove and emotional subtlety, while others find it too lightweight to leave a lasting impression. But perhaps that’s the point. “Glide” isn’t trying to be profound — it’s trying to be free. And in a world that often demands intensity, that lightness feels like a quiet act of defiance.
	Reezy – “Trapper’s Lullaby” (#184, New Entry) With “Trapper’s Lullaby,” Reezy delivers a track that feels like a whispered monologue at dawn — part lullaby, part lament, and entirely hypnotic. It’s the eighth track on his upcoming album Born Spinner (due August 8, 2025), and it might be his most emotionally textured release to date. Produced by Ambezza, Nik D, and Elyas, the song is a hazy blend of trap minimalism and melodic introspection, anchored by Reezy’s signature half-sung, half-rapped delivery. The track opens with a sample from Three 6 Mafia’s “Tear Da Club Up,” chopped and looped into a ghostly refrain that haunts the background like a memory of chaos. But Reezy isn’t here to rage — he’s here to unwind. The verses unfold like a diary entry after a long night: “Ich hab’ die ganze Nacht geworkt und ja, ich war turnt / Der Raum war voller Smoke, ich spür’ es in mei’m Atemweg.” He paints vivid scenes of post-party solitude, driving home at sunrise with croissants in hand, birds chirping like a natural alarm clock for a life lived in reverse. Lyrically, the song is a meditation on duality: the tension between hustle and exhaustion, between street life and domestic tenderness. There’s a surprising softness in lines like “Ich hab’ immer nur für mein Baby Eyes” — a quiet declaration of love amid the grind. The production mirrors this emotional push-pull, with sparse drums, ambient pads, and a bassline that pulses like a heartbeat slowed by fatigue. The accompanying video, released via Reezy’s Teenager Forever imprint, is a visual poem of empty streets, flickering neon, and quiet rituals. It’s not flashy — it’s intimate, like watching someone exhale after holding their breath for too long. “Trapper’s Lullaby” isn’t a banger — it’s a vibe. A song for the in-between hours, when the world is quiet and the mind won’t stop spinning. And in that space, Reezy finds something rare: peace, however fleeting.
	Hamza feat. Werenoi – “Dragons” (#192, New Entry) “Dragons” is more than a track — it’s a memorial in motion. Released just weeks after the tragic passing of French rapper Werenoi (May 17, 2025), this collaboration with Belgian star Hamza lands like a thunderclap. It’s the third track on Hamza’s new album Mania, and it’s already ignited a wave of emotion across the Francophone rap world. The production, helmed by KingAlexBeats, Kheir, and Lucozi, is dark and cinematic. A brooding synth line snakes through the beat like smoke, while the percussion hits with the weight of a funeral march. It’s a soundscape that feels both luxurious and lethal — the perfect backdrop for two artists who’ve always walked the line between vulnerability and bravado. Hamza opens with a refrain that’s already become iconic: “Y avait personne dans ma vie à part les drogues et le dragon.” It’s a line that encapsulates the song’s central tension — isolation, addiction, and the mythic persona of the “dragon” as both protector and destroyer. His verses are dense with imagery: heartbreak in the living room, respect at gunpoint, and a life lived in smoke and silk. There’s no redemption arc here — just raw confession. Then comes Werenoi’s verse, and it’s devastating. Knowing this may be his final recorded appearance adds a layer of gravity to every bar. He raps with urgency and swagger, weaving tales of paranoia, lust, and street survival. Lines like “J’crache du feu comme un wagon, comme un dragon” hit harder now — not just as metaphors, but as echoes of a voice silenced too soon. His flow is elastic, his delivery magnetic, and his presence unforgettable. The track has sparked an outpouring of tributes online. Fans and fellow artists alike have hailed it as a fitting farewell — a final flex from a rapper who never compromised. On X (formerly Twitter), “Werenoi” trended for hours, with posts ranging from tearful gratitude to stunned disbelief. “Dragons” isn’t just a banger — it’s a requiem. A reminder that in rap, legacy is forged not just in life, but in the echoes we leave behind.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."